Transcultural Studies最新文献_第9页

Engaged Ephemeral Art: Street Art and the Egyptian Arab Spring 参与短暂艺术：街头艺术与埃及阿拉伯之春

Transcultural Studies Pub Date : 2017-04-07 DOI: 10.17885/HEIUP.TS.2016.2.23590

S. Naguib

引用次数: 8

Islamic Studies : A Field of Research Under Transcultural Crossfire 伊斯兰研究:跨文化交火下的研究领域

Transcultural Studies Pub Date : 2017-04-07 DOI: 10.17885/heiup.ts.2016.2.23600

Daniel G. König

{"title":"Islamic Studies : A Field of Research Under Transcultural Crossfire","authors":"Daniel G. König","doi":"10.17885/heiup.ts.2016.2.23600","DOIUrl":"https://doi.org/10.17885/heiup.ts.2016.2.23600","url":null,"abstract":"This article gauges the transcultural character and disposition of Islamic Studies, a discipline of European origins that emerged in the early modern period and has been accused of catering to the needs of a colonial and imperialist agenda. It establishes that a discipline with a history of formulating largely non-Muslim Western perceptions on non-Western societies marked by Islam, whose object of study is a religious orbit that transcends ethnic and political boundaries, can be regarded as transcultural per se . This does not mean, however, that the transcultural approach—presented here as a methodological tool for conceptual deconstruction and a multiplication of scales and perspectives of analysis—will be accepted by intellectuals and ideologues in Western and Muslim societies alike. Discussing various potential anti-reactions to the transcultural approach, the article concludes that such criticism cannot erase the many forms of interpenetration that have marked and will continue to mark future relations between Islam and the West. In view of this, the transcultural approach seems to be of high relevance to understand past, present, and future processes of interaction, entanglement, and hybridization.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"2016 1","pages":"101-135"},"PeriodicalIF":0.0,"publicationDate":"2017-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46896703","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Issue 2016/2 问题2016/2

Transcultural Studies Pub Date : 2017-04-07 DOI: 10.17885/HEIUP.TS.2016.2.23643

M. Juneja, J. Kurtz

引用次数: 0

Sinology: Chinese Intellectual History and Transcultural Studies 汉学:中国思想史与跨文化研究

Transcultural Studies Pub Date : 2017-04-07 DOI: 10.17885/heiup.ts.2016.2.23601

P. Blitstein

引用次数: 6

The Transcultural Approach Within a Disciplinary Framework: An Introduction 学科框架下的跨文化方法导论

Transcultural Studies Pub Date : 2017-04-07 DOI: 10.17885/HEIUP.TS.2016.2.23642

Daniel G. König, K. Rakow

引用次数: 6

Constructivism’s Vešč, Objet, Gegenstand and the New Art of the “Object” 建构主义的Vešč、Objet、Gegenstand与“客体”的新艺术

Transcultural Studies Pub Date : 2017-02-01 DOI: 10.1163/23751606-01302003

S. Vladiv-Glover

{"title":"Constructivism’s Vešč, Objet, Gegenstand and the New Art of the “Object”","authors":"S. Vladiv-Glover","doi":"10.1163/23751606-01302003","DOIUrl":"https://doi.org/10.1163/23751606-01302003","url":null,"abstract":"There is no doubt that the Futurists, Constructivists, Productionists – all the Russian avant-garde groups – wanted to represent the “new world” of socialism in and through art. However, the relationship between art and life, or art and work in the new socialist state was not one-dimensional. This can be seen from a close reading of one of the major Constructivist manifestoes, published in Ilya Erenburg’s and El Lisitzky’s short-lived journal “Vesc, Objet, Gegenstand” 1922–23 (Berlin). What emerges from the militaristic jargon and the metaphors with which the new art platform announced in “Vesc, Objet, Gegenstand” comes to expression is that the Constructivist movement is focused on structures which it calls “the object” and that this emerging Structuralism constitutes not just a method of artistic inquiry but a new mode of perception. This paper attempts to show, by a close reading of the lexicon of this Constructivist manifesto, how the concept of the ‘object’ had a metaphysical dimension in that it was raised into a phenomenology of perception by the Constructivist artist but also a new artistic paradigm of international, collective art.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"13 1","pages":"145-159"},"PeriodicalIF":0.0,"publicationDate":"2017-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01302003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48641873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Concrete ‘Sound Object’ and the Emergence of Acoustical Film and Radiophonic Art in the Modernist Avant-Garde 具体的“声音对象”与现代主义先锋派中声学电影和放声艺术的出现

Transcultural Studies Pub Date : 2017-02-01 DOI: 10.1163/23751606-01302008

Christopher Williams

引用次数: 0

Estranging Objects and Complicating Form: Viktor Shklovsky and the Labour of Perception 客体的异化与形式的复杂化——维克托·什克洛夫斯基与感知劳动

Transcultural Studies Pub Date : 2017-02-01 DOI: 10.1163/23751606-01302004

A. Bulatova

{"title":"Estranging Objects and Complicating Form: Viktor Shklovsky and the Labour of Perception","authors":"A. Bulatova","doi":"10.1163/23751606-01302004","DOIUrl":"https://doi.org/10.1163/23751606-01302004","url":null,"abstract":"In Viktor Shklovsky’s essay “Art as Device” habitual perception is described as a dangerous practice, which renders one insensitive to the experiences of modernity. Importantly, the subjects’ automatized relationship with the surrounding world disrupts their ability to engage with objects. Rather than being experienced through the senses, the object is recognized through an epistemological (preconceived) framework. As a result, Shklovsky argues, “we do not see things, we merely recognize them by their primary characteristics. The object passes before us, as if it were prepackaged.” By making the usual strange Shklovsky’s technique of estrangement promises a relief from an alienating, consumerist experience of modernity, which “automatizes the object” instead of enabling perception: “in order to return sensation to our limbs, in order to make us feel objects, to make a stone feel stony, man has been given the tool of art.” In this article I trace the development of Shklovsky’s views on literature and the arts as an alternative way of experiencing objects in his writings during and after the Russian Revolution. I will pay particular attention to the relationship between things and words in Shklovsky’s writings produced during his exile in Berlin in 1923. The publication of the Berlin-based magazine Veshch/ Objet /Gegenstand in 1922, shortly before Shklovsky’s arrival, signals a rejection of both recognition and observation as passive consumerist practices. Instead, the manifesto published in the first issue of the magazine invites its readers to create new objects, which here is inseparable from the creation of new social formations. I will argue that Shklovsky’s 1923 writings provide a rethinking of the word “object” in society, literature and the arts. The function of art is not to “express what lies beyond words and images,” in other words, not to point to a referent that exists as a ‘real’ object, but rather to create a world “of independently existing things.”","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"13 1","pages":"160-176"},"PeriodicalIF":0.0,"publicationDate":"2017-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01302004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44211518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The End of The Soviet Baroque: Historical Poetics in Olesha’s Envy and Tynianov’s The Wax Person 苏联巴洛克的终结：奥列莎《嫉妒》和季尼诺夫《蜡像人》中的历史诗学

Transcultural Studies Pub Date : 2017-02-01 DOI: 10.1163/23751606-01302005

Anastasiya Osipova

引用次数: 0

Matt Kish’s Illustration: A Nuanced Remapping of Joseph Conrad’s Heart of Darkness 马特·基什的插图:约瑟夫·康拉德的《黑暗之心》的微妙重新映射

Transcultural Studies Pub Date : 2017-02-01 DOI: 10.1163/23751606-01302007

Yao Xiaoling

引用次数: 0